Paper as a Dialogue Between Hand and Material
For me, working with paper is a living dialogue—fragile, intimate, and endlessly captivating.
Paper demands patience, attentiveness, and the courage to follow one’s own inner logic.
Although my work is largely guided by intuition, there is also a certain degree of planning:
a framework or initial idea that provides orientation without restricting the process.
I let the material unfold, guiding it gently until its hidden order reveals itself.
Through movement, repetition, and the careful assembly of delicate fragments,
new forms emerge—reliefs, sculptures, orluminous structures. In
quiet concentration, a form gradually takes shape, seeming
to breathe—suspended between line and void, surface
and light. I am fascinated by the fragile balance
between construction and play,
where something alive
begins to take
form.
Papier als Dialog zwischen Hand und Material
Für mich ist die Arbeit mit Papier ein lebendiger Dialog – zerbrechlich, intim und unendlich fesselnd.
Papier verlangt Geduld, Aufmerksamkeit und den Mut, der eigenen inneren Logik zu folgen. Obwohl
meine Arbeit größtenteils von Intuition geleitet wird, gibt es auch ein gewisses Maß an Planung:
ein Rahmen oder eine erste Idee, die Orientierung bietet, ohne den Prozess einzuschränken. Ich
lasse das Material sich entfalten und führe es behutsam, bis seine verborgene Ordnung
sich zeigt. Durch Bewegung, Wiederholung und das sorgfältige Zusammenfügen
zarter Fragmente entstehen neue Formen – Reliefs, Skulpturen oder
leuchtende Strukturen. In stiller Konzentration nimmt eine Form
allmählich Gestalt an und scheint zu atmen – schwebend
zwischen Linie und Leere, Fläche und Licht. Mich
fasziniert das zerbrechliche Gleichgewicht
zwischen Konstruktion und Spiel,
aus dem etwas Lebendiges
zu entstehen
beginnt.
For me, working with paper is a living dialogue—fragile, intimate, and endlessly captivating.
Paper demands patience, attentiveness, and the courage to follow one’s own inner logic.
Although my work is largely guided by intuition, there is also a certain degree of planning:
a framework or initial idea that provides orientation without restricting the process.
I let the material unfold, guiding it gently until its hidden order reveals itself.
Through movement, repetition, and the careful assembly of delicate fragments,
new forms emerge—reliefs, sculptures, orluminous structures. In
quiet concentration, a form gradually takes shape, seeming
to breathe—suspended between line and void, surface
and light. I am fascinated by the fragile balance
between construction and play,
where something alive
begins to take
form.
Papier als Dialog zwischen Hand und Material
Für mich ist die Arbeit mit Papier ein lebendiger Dialog – zerbrechlich, intim und unendlich fesselnd.
Papier verlangt Geduld, Aufmerksamkeit und den Mut, der eigenen inneren Logik zu folgen. Obwohl
meine Arbeit größtenteils von Intuition geleitet wird, gibt es auch ein gewisses Maß an Planung:
ein Rahmen oder eine erste Idee, die Orientierung bietet, ohne den Prozess einzuschränken. Ich
lasse das Material sich entfalten und führe es behutsam, bis seine verborgene Ordnung
sich zeigt. Durch Bewegung, Wiederholung und das sorgfältige Zusammenfügen
zarter Fragmente entstehen neue Formen – Reliefs, Skulpturen oder
leuchtende Strukturen. In stiller Konzentration nimmt eine Form
allmählich Gestalt an und scheint zu atmen – schwebend
zwischen Linie und Leere, Fläche und Licht. Mich
fasziniert das zerbrechliche Gleichgewicht
zwischen Konstruktion und Spiel,
aus dem etwas Lebendiges
zu entstehen
beginnt.
fihi ma fihi
it is what is in it
sufi mystic: jalal al din muhammad rumi
13th century
PAPERCUT
paper with a subtle golden shimmer | interior ground gold leaves 24 karat
surface featuring an embossed leather-like texture, rednine delicate sheets of paper, ascending into three-dimensional form
34 × 34 × 34 cm
non-heating LED
2024
it is what is in it
sufi mystic: jalal al din muhammad rumi
13th century
PAPERCUT
paper with a subtle golden shimmer | interior ground gold leaves 24 karat
surface featuring an embossed leather-like texture, rednine delicate sheets of paper, ascending into three-dimensional form
34 × 34 × 34 cm
non-heating LED
2024
flying poppy
PAPERCUT
paper with a subtle golden shimmer
from around 700 cut paper strips, a dense weave emerged,
built up layer by layer into an ascending three-dimensional form.
through the precise interlacing of the narrow strips, an organic volume
developed that radiates both lightness and stability.
50 cm in diameter
non-heating LED
2025
PAPERCUT
paper with a subtle golden shimmer
from around 700 cut paper strips, a dense weave emerged,
built up layer by layer into an ascending three-dimensional form.
through the precise interlacing of the narrow strips, an organic volume
developed that radiates both lightness and stability.
50 cm in diameter
non-heating LED
2025
paravent
folding screen
PAPERCUT
six delicate sheets of paper, ascending into three-dimensional form
“arabic symbol 16” | h: 164 × w: 186 cm (slightly angled)
porcelain figurine of a grey wagtail
brass hinges
2024
folding screen
PAPERCUT
six delicate sheets of paper, ascending into three-dimensional form
“arabic symbol 16” | h: 164 × w: 186 cm (slightly angled)
porcelain figurine of a grey wagtail
brass hinges
2024
black silver
trilogy
PAPERCUT
five delicate sheets of paper, ascending into three-dimensional form
different papers | w: 200 cm × h: 110 cm
2022
trilogy
PAPERCUT
five delicate sheets of paper, ascending into three-dimensional form
different papers | w: 200 cm × h: 110 cm
2022
fihi ma fihi I
it is what is in it
sufi mystic: jalal al din muhammad rumi
13th century
PAPERCUT
milk fiber velvet paper wine red, mirror paper
five delicate sheets of paper, ascending into three-dimensional form
the combination of these three paper types unites matte softness,
natural texture, and reflective depth, creating a multilayered visual and tactile experience.
20 × 20 × 20 cm
non-heating LED
2024
it is what is in it
sufi mystic: jalal al din muhammad rumi
13th century
PAPERCUT
milk fiber velvet paper wine red, mirror paper
five delicate sheets of paper, ascending into three-dimensional form
the combination of these three paper types unites matte softness,
natural texture, and reflective depth, creating a multilayered visual and tactile experience.
20 × 20 × 20 cm
non-heating LED
2024
fihi ma fihi II
it is what is in it
sufi mystic: jalal al din muhammad rumi
13th century
PAPERCUT
paper with a subtle golden shimmer
surface featuring an embossed leather-like texture, red
seven delicate sheets of paper, ascending into three-dimensional form
12 × 12 × 12 cm
2025
it is what is in it
sufi mystic: jalal al din muhammad rumi
13th century
PAPERCUT
paper with a subtle golden shimmer
surface featuring an embossed leather-like texture, red
seven delicate sheets of paper, ascending into three-dimensional form
12 × 12 × 12 cm
2025
scalpel (surgical knife)
metamorphosis
PAPERCUT
front: paper surface glistening like snow | inner walls: mirror paper
nine delicate sheets of paper, ascending into three-dimensional form
different papers
34 × 34 × 34 cm
non-heating LED
2024
PAPERCUT
front: paper surface glistening like snow | inner walls: mirror paper
nine delicate sheets of paper, ascending into three-dimensional form
different papers
34 × 34 × 34 cm
non-heating LED
2024
the wall
PAPERCUT
different papers | front: paper surface glistening like snow
seven delicate sheets of paper, ascending into three-dimensional form
w: 110 cm × h: 20 cm × d: 11 mm
2024
PAPERCUT
different papers | front: paper surface glistening like snow
seven delicate sheets of paper, ascending into three-dimensional form
w: 110 cm × h: 20 cm × d: 11 mm
2024
|
fihi ma fihi III
it is what is in it
sufi mystic: jalal al din muhammad rumi
13th century
PAPERCUT
different paper | velvet black paper | inner walls white and mirror paper
seven delicate sheets of paper, ascending into three-dimensional form
27 × 27 × 27 cm
non-heating LED
2023
it is what is in it
sufi mystic: jalal al din muhammad rumi
13th century
PAPERCUT
different paper | velvet black paper | inner walls white and mirror paper
seven delicate sheets of paper, ascending into three-dimensional form
27 × 27 × 27 cm
non-heating LED
2023
mausoleum
king mohammed the fifth of morocco | rabat
resting place
(the portal of the resting place appears in fivefold grace)
PAPERCUT
different papers | wood | front paper - glisten rosa shimmering gold
86 × 186 × d: 11 cm
non-heating LED
2020
king mohammed the fifth of morocco | rabat
resting place
(the portal of the resting place appears in fivefold grace)
PAPERCUT
different papers | wood | front paper - glisten rosa shimmering gold
86 × 186 × d: 11 cm
non-heating LED
2020
beyond
(like a cloud ...)
PAPERCUT
different papers | silk thread | metal .....around 50 × 80 cm
hanging: it depends on the height of the room
2023
(like a cloud ...)
PAPERCUT
different papers | silk thread | metal .....around 50 × 80 cm
hanging: it depends on the height of the room
2023
fog
PAPERCUT
different papers
around 60 × 100 cm
2023
PAPERCUT
different papers
around 60 × 100 cm
2023
the crumbling wall
task of finding a shape is to filter out that excess until you reach a final destination.
pure inventiveness can be silly - sometimes. it is best to just
allow that very shape to emerge as if by itself
PAPERCUT
japanese shoji, paper | 90 × 450 cm | silk thread | metal
hanging: free - depending on room
2022
task of finding a shape is to filter out that excess until you reach a final destination.
pure inventiveness can be silly - sometimes. it is best to just
allow that very shape to emerge as if by itself
PAPERCUT
japanese shoji, paper | 90 × 450 cm | silk thread | metal
hanging: free - depending on room
2022
across the sea
mediterranean sea
to risk the jump into the cold water in the proper sense of the word, is only one
example when people are longing for home. to be packed onto a rubber boat,
wearing live orange vests, not knowing if they are really save. no fear
is bigger than the desire for homeland. to overcome all
unknown obstacles, to get out of the darkness
into the light towards the land of
freedom and peace.
PAPERCUT
watercolor, paper | 152 × 415 cm
acryl - indigo blue | orange (vest)
2020
mediterranean sea
to risk the jump into the cold water in the proper sense of the word, is only one
example when people are longing for home. to be packed onto a rubber boat,
wearing live orange vests, not knowing if they are really save. no fear
is bigger than the desire for homeland. to overcome all
unknown obstacles, to get out of the darkness
into the light towards the land of
freedom and peace.
PAPERCUT
watercolor, paper | 152 × 415 cm
acryl - indigo blue | orange (vest)
2020
the breaking wall
PAPERCUT
watercolor, paper | 152 × 333 cm total length
lightly rolled for stability | ca. h: 152 × w: 150 × d: 30 cm
2018
PAPERCUT
watercolor, paper | 152 × 333 cm total length
lightly rolled for stability | ca. h: 152 × w: 150 × d: 30 cm
2018
the breaking wall
PAPERCUT
watercolor, paper | 152 × 333 cm total length
lightly rolled for stability | ca. h: 152 × w: 150 × d: 30 cm
2020
PAPERCUT
watercolor, paper | 152 × 333 cm total length
lightly rolled for stability | ca. h: 152 × w: 150 × d: 30 cm
2020
curtain
“arabic symbol 16”
PAPERCUT
watercolor, paper | w: 200 × h: 180 cm | 4 elements - 1 element 50 cm
2024
“arabic symbol 16”
PAPERCUT
watercolor, paper | w: 200 × h: 180 cm | 4 elements - 1 element 50 cm
2024
bubbles
POINTILLIST DRAWING
handmade japanese rice watercolor, paper | 133 × 193 cm | ink
ca 1,700,000
dotsssssss by dotssss....
2013
POINTILLIST DRAWING
handmade japanese rice watercolor, paper | 133 × 193 cm | ink
ca 1,700,000
dotsssssss by dotssss....
2013
chandalier
schauspielhaus zürich
POINTILLIST DRAWING
watercolor paper | 100× 152 cm | ink
ca. 1,500,000... dotsssssss by dotssss....
2003
schauspielhaus zürich
POINTILLIST DRAWING
watercolor paper | 100× 152 cm | ink
ca. 1,500,000... dotsssssss by dotssss....
2003
chandalier
schauspielhaus zürich
POINTILLIST DRAWING
watercolor paper | 100× 152 cm | ink
ca. 1,500,000... dotsssssss by dotssss....
2003
schauspielhaus zürich
POINTILLIST DRAWING
watercolor paper | 100× 152 cm | ink
ca. 1,500,000... dotsssssss by dotssss....
2003
album
forever begins here (our wedding)
BOOKBING
special book binding
20× 35 cm
forever begins here (our wedding)
BOOKBING
special book binding
20× 35 cm
How a Work of Art Comes to Be (with a Wink)
I begin with silence.
Paper lies before me as an open space,
without demand, without direction.
I listen before I act.
The cut emerges from attention.
Not as an intervention, but as a response.
My hand follows an intuition
moving between thinking and feeling,
recognizing the moment when form becomes possible.
What I remove opens space.
Lines become breath,
emptiness becomes meaning.
What matters is not more,
but knowing when enough is enough.
In this way, paper becomes time,
becomes movement,
a quiet carrier of inner knowing.
My works are traces of calm and precision--
light, clear,
and fully present.
For me, the work continues
long after my hand has come to rest.
It unfolds in lingering,
in a quiet exchange with the gaze.
Light drifts, shadows shift,
and the paper responds--
mobile, almost playful.
What once seemed fixed becomes changeable,
what appeared complete opens again.
The surrounding space becomes part of the event.
I experience how it enters into relation with the openings,
receiving them, resisting them, extending them.
I do not preserve silence--
I share it.
At the edges, time appears
as trace rather than measure.
I find it in the precision of the act
and in deliberate restraint.
Not everything is decided--
some things are allowed to remain.
In this way, a state emerges
that for me is neither object nor process alone.
An invitation to attentiveness,
light and awake,
carried by a joy in clarity.
I begin with silence.
Paper lies before me as an open space,
without demand, without direction.
I listen before I act.
The cut emerges from attention.
Not as an intervention, but as a response.
My hand follows an intuition
moving between thinking and feeling,
recognizing the moment when form becomes possible.
What I remove opens space.
Lines become breath,
emptiness becomes meaning.
What matters is not more,
but knowing when enough is enough.
In this way, paper becomes time,
becomes movement,
a quiet carrier of inner knowing.
My works are traces of calm and precision--
light, clear,
and fully present.
For me, the work continues
long after my hand has come to rest.
It unfolds in lingering,
in a quiet exchange with the gaze.
Light drifts, shadows shift,
and the paper responds--
mobile, almost playful.
What once seemed fixed becomes changeable,
what appeared complete opens again.
The surrounding space becomes part of the event.
I experience how it enters into relation with the openings,
receiving them, resisting them, extending them.
I do not preserve silence--
I share it.
At the edges, time appears
as trace rather than measure.
I find it in the precision of the act
and in deliberate restraint.
Not everything is decided--
some things are allowed to remain.
In this way, a state emerges
that for me is neither object nor process alone.
An invitation to attentiveness,
light and awake,
carried by a joy in clarity.